document_title: Road to Emmaus appearance

question_text: where in the bible is the road to emmaus

root

text: Road to Emmaus appearance

text: Biblical accounts[edit]

text: N. T. Wright considers the detailed narration of the Emmaus journey in Luke 24:13-35 as one of the best sketches of a biblical scene in the Gospel of Luke.[4] Jan Lambrecht, citing D.P. Moessner, writes: "the Emmaus story is one of Luke's 'most exquisite literary achievements'."[5] It describes the encounter on the road to Emmaus and the supper at Emmaus, and states that a disciple named Cleopas was walking towards Emmaus with another disciple when they met Jesus. They did not recognize him, and discussed their sadness at recent events with him. They persuaded him to come and eat with them, and in the meal event at Emmaus they recognized him.

tag: p

text: Theme[edit]

text: Though it may be said that its main subject is proving the Resurrection by the appearance of Jesus, this narrative seems not saying anything about proving the event. R. W. L. Moberly suggests that "the story is best understood as an exposition of the hermeneutical issue of discernment, focussing specifically on the question, 'How does one discern the risen Christ?'"[6] Alfred McBride says that the Emmaus narrative concerns about "the evolution of the awareness of the two disciples, from despair over Christ's death to faith in his resurrection". Used to perceive Christian spiritual growth, this narrative considered as a model for a Christians' own journey to a deeper faith and as an instrument to help others do the same journey.[7]

text: Alleged parallels[edit]

text: The Gospel of Mark 16:12-13 has a similar account that describes the appearance of Jesus to two disciples while they were walking in the country, at about the same time in the Gospel narrative,[8] although it does not name the disciples or the destination as Emmaus:

text: Afterward Jesus appeared in a different form to two of them while they were walking in the country. These returned and reported it to the rest; but they did not believe them either.[9]

text: It has also been suggested the Ethiopian eunuch story (Acts 8:26-40) is an Emmaus narrative's "much discussed parallel", since there are some recognizable similarities between the two.[10] Jan Lambrecht says, "Each event culminates with a ritual, the breaking and distributing of bread at Emmaus and the baptism of the Ethiopian along the road. ... What remains as a common theme in both stories is the necessary hermeneutical connection between the Scriptures and the Jesus event. The Scriptures are to be interpreted in the light of 'the good news of Jesus' (Acts 8) and the Jesus events can only be understood in light of the Scriptures (Lk 24)."[11]

text: Unnamed disciple[edit]

text: There are many possible names for the disciple accompanying Cleopas according to a number of traditions. Some of them has been suggested: Simon/Symeon, according to several documents and manuscripts; Ammaon/Amaon, according to Saint Ambrose, which probably a spelling error for "Symeon"; Nathanael, according to Saint Epiphanius' Panarion; Nicodemus, according to the Arabic apocryphal Gospel of John; Luke the Evangelist, according to the Book of the Bee; Philip the Deacon; James, brother of Jesus; the daughter or the wife of "Cleopas", when he is considered the same person as Clopas.[12][13]

text: John Gillman, in a Festschrift to Jan Lambrecht, writes that "Luke's failure to identify Cleophas' companion by either name or gender may well be a strategy of inviting the reader to identify implicitly with that person, and thus to make the journey as Cleophas' companion."[14]

text: The journey to Emmaus[edit]

text: The two disciples were walking along the road, heading to Emmaus, deep in solemn and serious discussion, when Jesus met them. They could not recognize Jesus, and saw him as a stranger. In Homilies on the Gospels (Hom. 23), Saint Gregory the Great says:

text: They did not, in fact, have faith in him, yet they were talking about him. The Lord therefore appeared to them, but did not show them a face they could recognize. In this way the Lord enacted outwardly, before their physical eyes, what was going on in them inwardly, before the eyes of their hearts. For inwardly they simultaneously loved him and doubted him; therefore the Lord was outwardly present to them, and at the same time did not reveal his identity. Since they were speaking about him, he showed them his presence, but since they doubted him, he hid from them the appearance by which they could have recognized him.[15]

text: Jesus let them tell about their anxieties and pains; he let them grieve and mourn by expressing the root causes. Jesus emphatically listened to them, who poured out their crises and doubts, and used scriptures so that they could better understand "suffering and glory".[16] During the journey to Emmaus, according to Alfred McBride, Jesus patiently guided the two disciples "from hopelessness to celebration"[7] and also intended to nourish the two disciples' faith to such an extent that they can see "his real presence in the breaking of the bread".[17]

text: From a pastoral perspective, John P. Mossi writes that meditating upon the "Emmaus Pilgrimage" may helps one when experiencing one's own "dark nights". During such course of action, according to Mossi, one should realizes that Jesus compassionately walks as a friend on one's own journey, empathetically listens one's sorrows and hesitations, and spends quality time accompanying one goes through the process of inner healing.[18]

text: "Stay with us"[edit]

text: Luke 24:28-29 states that Jesus stayed and had supper with the two disciples after the encounter on the road:

text: As they approached the village to which they were going, Jesus acted as if he were going farther. But they urged him strongly, "Stay with us, for it is nearly evening; the day is almost over." So he went in to stay with them.[19]

text: The two disciples showed their openness and caring to the unknown stranger, who is Jesus, by inviting him to stay with them, to join in meal and companionship. Jan Lambrecht argues that such attitudes made Jesus able to change them deeply: "By the offer of hospitality the Emmaus companions were able to transcend their self-concern, sadness, foolishness and slowness of heart, thus preparing them for the revelatory experience around the table where they were nourished."[20]

text: The meal at Emmaus[edit]

text: At first, Jesus appears to Cleopas and one other disciple, but "their eyes were holden" so that they could not recognize him. Later, "in the breaking of bread" (Luke 24:30), "their eyes were opened" and they recognized him (Luke 24:31). B. P. Robinson argues that this means that the recognition occurred in the course of the meal,[21] while Raymond Blacketer notes that "many, perhaps even most, commentators, ancient and modern and in-between, have seen the revelation of Jesus' identity in the breaking of bread as having some kind of eucharistic referent or implication."[22]

text: In his apostolic letter Mane nobiscum Domine, Saint John Paul II says that when the two disciples urged Jesus to stay with them, Jesus afterwards responded by giving them a way to stay in him, by entering into "a profound communion with Jesus" through the "Sacrament of the Eucharist" (cf. John 15:4). Soon after Jesus agreed their request to stay, according to the Pope, "Jesus' face would disappear, yet the Master would 'stay' with them, hidden in the 'breaking of the bread' which had opened their eyes to recognize him. ... When minds are enlightened and hearts are enkindled, signs begin to 'speak'."[23]

text: Return to Jerusalem[edit]

text: Luke 24:32 states that the two disciples' hearts were "burning" during their conversation with Jesus along the way to Emmaus, especially when he explained the Scriptures. They have gone through "a journey symbolizing their change of hearts from 'sad' to 'burning'", and they immediately returned to Jerusalem to share their experience with other fellows (Luke 24:33).[24]

text: Alfred McBride says that "enthusiasm flooded their whole being" when the two disciples have "encounter[ed] the Risen Christ" in the supper at Emmaus. They sensed a must to share their happiness and the good news with another so that they were willing to go through a long walk back to Jerusalem.[25] Saint John Paul II argues that the two disciples realized "the duty to be a missionary" after "entering into communion with Christ" at the meal event, relates it with the dismissal at the end of the Eucharistic Celebration.[23]

text: In art[edit]

text: Both the encounter on the road and the ensuing supper have been depicted in art, but the supper has received more attention. Medieval art tends to show a moment before Jesus is recognized; Christ wears a large floppy hat to help explain the initial lack of recognition by the disciples. This is often a large pilgrim's hat with badges or, rarely, a Jewish hat. However, the depiction of the supper has been a more popular theme, at least since the Renaissance, showing Jesus eating with the disciples. Often the moment of recognition is shown.

text: Rembrandt's 1648 depiction of the Supper builds on the etching that he did six years earlier, in which the disciple on the left had risen, hands clasped in prayer. In both depictions, the disciples are startled and in awe but not in fear. The servant is oblivious to the theophanic moment taking place during the supper.[26]

text: Caravaggio's painting in London and his painting in Milan were six years apart, and both imitate natural color very well, but both were criticized for lack of decorum. Caravaggio depicted Jesus without a beard, and the London painting shows fruits on the table that are out of season. Moreover, the inn keeper is shown serving with a hat.[27]

text: Some other artists who have portrayed the Supper are Jacopo Bassano, Pontormo, Vittore Carpaccio, Philippe de Champaigne, Albrecht Dürer, Benedetto Gennari, Jacob Jordaens, Marco Marziale, Pedro Orrente, Tintoretto, Titian, Velázquez, and Paolo Veronese. The supper was also the subject of one of Han van Meegeren's most successful Vermeer forgeries.

text: In literary art, the Emmaus theme is treated as early as the 12th century by Durham poet Laurentius in a semidramatic Latin poem.[28]

text: Gallery of art[edit]

text:
Oratory in Novara, 15th century

Supper at Emmaus, 15th century

Vincenzo Catena

Titian, 1535, Louvre

The Meeting, by Lelio Orsi, 1560–65

after Pieter Bruegel the Elder, 1571

Caravaggio, 1601, London

Caravaggio, 1606, Milan

Diego Velázquez, 1620, New York

Laurent de La Hyre, 1656

Abraham Bloemaert

Joseph von Führich, 1837

Bertel Thorvaldsen, 1840s

Robert Zünd, 1877

text: In music[edit]

text: The gospel was the prescribed reading for Easter Monday in Lutheran Leipzig at Bach's time. He composed several church cantatas for the occasion, including the chorale cantata Bleib bei uns, denn es will Abend werden, BWV 6, in 1725.

text: Josef Rheinberger composed in 1855 a motet Abendlied on a verse from the gospel narration, "Bleib bei uns" (Bide with us).

text: Jungian Perspective[edit]

text: Carl Jung regarded the road to Emmaus appearance as an instance of the mythological theme of the magical traveling companion that still appears spontaneously in dreams today.[29][page needed]


document_title: Dungeons & Dragons gameplay

question_text: what does dc stand for in dungeons and dragons

text: Dungeons & Dragons gameplay

text: Ability scores[edit]

text: All player characters have six basic statistics:[1]

text:
Strength (STR): Strength is a measure of muscle, endurance and stamina combined. Strength affects the ability of characters to lift and carry weights, melee attack rolls, damage rolls (for both melee and ranged weapons), certain physical skills, several combat actions, and general checks involving moving or breaking objects.
Dexterity (DEX): Dexterity encompasses a number of physical attributes including hand-eye coordination, agility, reflexes, fine motor skills, balance and speed of movement; a high dexterity score indicates superiority in all these attributes. Dexterity affects characters with regard to initiative in combat, ranged attack rolls, armor class, saving throws, and other physical skills. Dexterity is the ability most influenced by outside influences (such as armor).
Constitution (CON): Constitution is a term which encompasses the character's physique, toughness, health and resistance to disease and poison. The higher a character's constitution, the more hit points that character will have. Constitution also is important for saving throws, and fatigue-based general checks. Unlike the other ability scores, which render the character unconscious or immobile when they hit 0, having 0 Constitution is fatal.
Intelligence (INT): Intelligence is similar to IQ, but also includes mnemonic ability, reasoning and learning ability outside those measured by the written word. Intelligence dictates the number of languages a character can learn, and it influences the number of spells a preparation-based arcane spellcaster (like a Wizard) may cast per day, and the effectiveness of said spells. It also affects certain mental skills.
Wisdom (WIS): Wisdom is a composite term for the character's enlightenment, judgment, wile, willpower and intuitiveness. Wisdom influences the number of spells a divine spellcaster (like clerics, druids, paladins, and rangers) can cast per day, and the effectiveness of said spells. It also affects saving throws and linked skills.
Charisma (CHA): Charisma is the measure of the character's combined physical attractiveness, persuasiveness, and personal magnetism. A generally non-beautiful character can have a very high charisma due to strong measures of the other two aspects of charisma. Charisma influences how many spells spontaneous arcane spellcasters (like sorcerers and bards) can cast per day, and the effectiveness of said spells.

tag: ul

text: An ability score is a natural number, with a value of 10 or 11 representing average human ability.

text: Additional:

text:
Comeliness (COM): In the original version of AD&D, Comeliness was introduced as a seventh ability score in the supplemental rulebook Unearthed Arcana and Oriental Adventures to differentiate between physical attractiveness and charisma. Comeliness has not appeared as an officially supported ability score since, although the second edition rules Player's Option: Skills & Powers introduced "appearance" as one of twelve subability scores.
Sanity (SAN): An optional score suggested in the 5th Edition Dungeon Master's Guide for campaigns shaped by the constant risk of insanity. It is checked for actions like understanding the writings of raving lunatics and used for dedicatedly dealing with resisting the equally optional madness damage type, caused for example by contact with alien planes of existence (or its denizens) that defy the rules of the material plane.
Honor (HON): Also suggested in the 5th Edition Dungeon Master's Guide, an option for campaigns shaped by a strict code of honor like East-Asia-inspired ones or those with a focus on chivalry of any sort. It determines both how well the character adheres to the respective society's code and how well he understands its tenets. It may also reflect others' perception of the character's honorability. Mechanically, high (or low) honor is used in social interaction in situations in which it may be more relevant than a person's charisma or in a saving throw to resist for example the urge to act dishonorably. Unlike others, this ability score can not be raised by the player after character creation. Instead, the dungeon master can increase (or decrease) its value by 1 at the end of an adventure according to the player character's actions throughout it.

text: Ability modifiers[edit]

text: Beginning with the 3rd Edition, each score has a corresponding ability modifier, where Modifier = (Score − 10)/2, rounded down. This modifier is added to the appropriate dice rolls. For example, the strength modifier would be added to the damage dealt by a sword, the dexterity modifier to Armor Class (see below) as the character's ability to dodge attacks, and the charisma modifier to an attempt to smooth-talk a merchant.

text: Determining ability scores[edit]

text: There are several methods of determining a character’s initial ability scores during character creation:

text:
Rolling dice (3d6): This is the standard method for older editions. For each ability score, the player rolls 3d6, and adds the values, resulting in scores ranging from three to eighteen, averaging between 10 and 11.
Rolling dice (4d6, keep 3): This is the standard method since 3rd edition.[2] For each ability score, the player rolls 4d6, and adds the three highest values, resulting in scores ranging from three to eighteen, skewed towards higher numbers, averaging 12.2446, though the most probable result is 13.[3]
Predetermined array of scores: Each player uses the same set of numbers, choosing which ability score to apply them to.[4]
Point buy: In the point buy system, a player has a certain number of points to spend on ability scores, and each score has a certain point cost affixed to it, where higher scores cost more points than lower ones.[4] This method is also used in D&D video games.

text: Combat[edit]

text: Armor class[edit]

text: Armor class (AC) is a rating used to determine how difficult it is to damage a creature/character. It is based on several factors such as a creature's natural aversion to physical injury, magical enhancements, and any protective garments worn. The dexterity ability score grants bonuses to AC.

text:
In the original game, armor class ranged from 9 to 0, because armor and dexterity modifiers were applied to hit rolls instead. Negative values first appeared in the Greyhawk supplement, because it first applied them directly to the Armor Class.[5]
In editions prior to 3rd, armor class ranges from -10 to 10. Having an AC of 10 was the weakest, and a -10 being the strongest possible written AC.[6]
In subsequent editions, armor class instead starts at 10 and increases. Extremely non-dextrous or non-moving creatures may suffer penalties that lower their armor class below 10.

text: Defenses[edit]

text: In 4th edition, there are three defenses that function similarly to armor class. Fortitude is based on strength or constitution; it represents a character's endurance to pain. Reflex is based on dexterity or intelligence and can be modified by a shield; it represents a character's ability to dodge. Will is based on wisdom or charisma; it represents a character's strength of mind and resistance to mental attack. These defenses are typically lower than AC, so an attack against fortitude is usually better than an attack against AC.

text: Hit points[edit]

text: Hit points (HP) are a measure of a character's vitality or health; they are determined by the character's class (certain occupations breed hardier people) or race, and Constitution score. Hit points are reduced whenever a character takes damage.

text: In the original D&D game a character died when his/her hit point total reached 0. First edition AD&D introduced an optional rule in which a character died when his/her hit points reached -10, with beings falling unconscious at 0 HP, and creatures reduced to negative HPs continue to lose HPs due to bleeding, etc. unless they are stabilized by aid or healing (natural or magical). In third edition, this rule became part of the core rules.

text: In 4th Edition, death occurs when a character's hit point value is reduced to half their total expressed as a negative number. For example, if a character has hit points of 52, the character is unconscious and dying at 0 hit points and death occurs when the character's hit points reach -26.

text: In 5th Edition, a character is killed automatically if the damage is greater than the negative value of their maximum hit points. Otherwise, a player at 0 hit points must begin making "death saving throws", where an unmodified d20 roll resulting in 10 or above is a success, below 10 a failure. If the player gets three failures before three successes, the character is dead. If three successes are recorded, the character is stable but unconscious. A result of 1 counts as two failures, while a result of 20 is automatic success and the character regains 1 hit point. A fellow player may attempt to stabilize their companion using a medicine skill check, or use more advanced healing options.[4]

text: Saving throws[edit]

text: Certain situations give characters the chance to avoid special types of danger or attacks. These chances are called saving throws or saves. A saving throw is made when a character would come to harm from extraordinary means such as poisons and magical compulsions in nature.

text: In the early editions of D&D, there are five categories of saving throws, based on the form of the potential damage:

text:
Paralysis, Poison, or Death Magic
Petrification or Polymorph
Rods, Staves, Wands – against magical devices
Spells
Breath Weapons – such as with dragons or gorgons

text: In 3rd Edition, they were reduced to three kinds of saving throw based on what aspect of the character was under threat.

text:
Fortitude – A Fortitude save represents physical toughness. Fortitude saves involve a character's resistance to an effect that directly attacks his health, stamina, or soul. Fortitude saves are affected by the constitution ability score.
Reflex – A Reflex save represents physical agility. Reflex saves are affected by the dexterity ability score.
Will – A Will saves involve a character's mental resistance to mental dominance, confusion, stress, and insanity. Will saves are affected by the wisdom ability score.

text: In 4th Edition there is only one type of saving throw. Saving throws are usually rolled after a character has already been affected by an attack (by hitting the character's AC or fortitude, reflex, or will defense, defenses which the 3rd Edition saves had been converted into), rolled each round to give the character a chance to shake off the effect. They are meant partly to simplify record-keeping for effects that last more than one round but less than the encounter.

text: In 5th Edition, saving throws are explicitly tied to the ability scores, and carry their names, resulting in six categories of saves. A saving throw is performed similarly to a skill check, with a d20 roll result added to the relevant ability modifier and, if applicable, the proficiency bonus.[4]

text: Attacking[edit]

text: When a character makes an attack a 20-sided die is rolled to determine success/failure. The result could be adjusted based on any number of possible modifiers the character or its intended target have.

text: The number added to the die roll is actually several different modifiers combined, coming from different places. These modifiers include the character's proficiency with the specific weapon and weapons in general, the quality of the weapon (masterwork craftsmanship or magical enhancements), the modifier of the ability associated with the weapon (strength for melee weapons, and dexterity for ranged weapons), magical effects improving/hampering the character's ability to attack, and any special experience the character has fighting a certain foe.

text:
In the early editions, the final result is compared to a table along with the target's armor class to see if the attack hits. Every general class type had its own matrix-style table, while monsters used the same matrix as the generic fighter character type.
In AD&D 2nd Edition, if the final result equals or exceeds the attacker's THAC0 (the pre-recorded number the character needs To Hit Armor Class 0"), the attacker has successfully hit a target with armor class 0. If the target has an armor class different from zero (which is far more likely than not), the target's armor class is subtracted from the attacker's THAC0, and that number is what the attacker's roll must equal or exceed to see if the attack hits. This method was informally introduced before the publication of 2nd Edition as a shortcut for players to use.
Since 3rd Edition, the attack hits simply if the final result is equal to or greater than the target's armor class.[7]

text: Actions[edit]

text: The combat mechanic is turn-based and operates in rounds. A round is a discrete time interval (approximately 6 seconds, game-time in later editions, and approximately 1 minute in earlier editions) in which all involved parties act in the combat. The order in which parties involved in the combat act is determined by Initiative.

text:
In older editions, characters are allowed to move their speed and attack every round, or perform a reasonable combination of other actions.
In 3rd and 3.5 editions, what a character can and cannot do in a given round is more codified; a character may perform one standard and one move action, two move actions or one full-round action in a round, along with any number of free actions, and a single swift or immediate action. Unlike other types of actions, immediate actions may also be taken during someone else's turn, though that counts as using the immediate action slot for the character's following turn.
In 4th edition, a character is allotted one standard action, one move action, one minor action, and any number of free actions to be performed during his or her turn. Each action can be downgraded, such as replacing a standard action with a move action or a move action with a minor action, with results similar to 3.5's possible combinations of actions. In addition, a character may take one opportunity action during each other character's turn, and one immediate action during any round, defined as the time between the end of the character's turn and the beginning of his next turn. Immediate and opportunity actions each have a defined trigger that allows their use, based on other characters' actions, and are categorized as reactions that are resolved after the trigger or as interrupts that are resolved before or in place of the triggering event. Neither immediate nor opportunity actions may be taken during the character's turn.
In 5th edition, a character may move up to their full allowed distance and take an action each turn, in any combination the player chooses. Some class features, spells and other circumstances allow a bonus action as well. Reactions triggered by outside factors, such as opportunity attacks, may occur on a player's turn or someone else's.[4]

text: Skills[edit]

text: Dungeons & Dragons, starting with AD&D 1st Edition and continuing to the current 5th Edition, has many skills that characters may train in. In 1st and 2nd editions, these were broken down into "weapon proficiencies" and "non-weapon proficiencies".

text: In 3rd Edition they are all simply referred to as "skills". Characters gain skill points for buying skill ranks based on class, level, and intelligence. Some skills can only be taken by certain classes, such as Read Lips or Animal Empathy. These skills are called exclusive skills. Others can be used even if the character has no ranks in that skill (i.e., is not trained in that skill).

text: For 4th edition, the list of skills was drastically reduced. This usually resulted in each skill covering a broader range of activities, though some skills were removed entirely, such as profession and craft. The skill rank system was also removed, each skill being instead trained or untrained, with a constant bonus given to any trained skill along with a bonus based on the character's level. A character begins with a number of trained skills based on and chosen according to his class. The character gains new skill training only through spending a feat for that purpose, though these may be chosen regardless of class.

text: In 5th Edition, the skills are more tightly tied to the ability scores, with each skill being seen as an area of specialization within the ability. Any skill check may be attempted by any character, but only characters that have proficiency in the specific skill area apply their proficiency bonus (a flat bonus tied to character level) to those particular skill checks. Characters gain proficiencies from their race, class, and character background, with additional proficiencies added by some feats.[4]

text: A skill check is always a d20 roll, with bonuses added. Sometimes, a skill check may be aided by favorable circumstances (such as you brandishing a weapon while using Intimidate) or hampered by unfavorable circumstances (such as using improvised tools to pick a lock).

text: A "check" is successful when the roll is higher than or equal to the difficulty class (DC) of the task. Usually, the Dungeon Master sets the DC. Sometimes the DC is set by the result of something else's check, this is an "opposed check". An example of an opposed check is spot against stealth: the character is trying to see something else that is trying not to be seen.

text: Feats[edit]

text: Feats were introduced in 3rd edition of Dungeons & Dragons. A feat is an advantage, often some special option for the character (such as a special combat maneuver) or some modification to game options and the mechanics involved. Feats can be contrasted with skills, which were also introduced in the same edition, in that using a feat does not usually require the particular success/fail roll that skills do. Instead of possessing a certain rank at a skill, a character either possesses a feat or does not. Many feats require certain prerequisites (such as related feats or minimum ability scores) in order to select that feat.[8]

text: The 4th Edition feat system is similar to the system in 3rd, with each feat having any number of prerequisites and some beneficial effect. Feats are also categorized by type, though "general" feats lack a category. "Class" and "Racial" feats require the character to be the indicated class or race. The "Heroic", "Paragon", and "Epic" descriptors indicate that the character must be in that tier or higher in order to choose the feat. "Divinity" feats grant a character with the "Channel Divinity" power an additional, alternative use for that power.

text: In 5th Edition, feats are made an optional character customization feature. As characters advance, at certain levels players increase their characters' ability scores. If playing with feats, they may forgo the ability score increases to take feats, which are structured as a package of thematically related improvements, some of which have prerequisites.[4]


document_title: Hey Arnold!

question_text: who did the voice of arnold in hey arnold

text: Hey Arnold!

text: Premise[edit]

text: Characters[edit]

text: Hey Arnold! stars nine-year-old Arnold (voiced by Toran Caudell; Phillip Van Dyke; Spencer Klein; Alex D. Linz and Mason Vale Cotton) and his neighborhood friends: Gerald (voiced by Jamil Walker Smith and Benjamin Flores Jr.), a street-smart character who generally serves as the leader of the group, and Helga (Francesca Smith), a girl who bullies Arnold in order to hide the fact that she is in love with him. Bartlett drew inspiration from people he grew up with when creating the characters for the show.[5]

text: Arnold lives with his eccentric but loving paternal grandparents, Phil (Dan Castellaneta) and Gertrude (Tress MacNeille), proprietors of the Sunset Arms boarding house, in the fictional city of Hillwood. In each episode, he often helps a schoolmate or boarding home tenant solve a personal problem, or encounters a predicament of his own. Many episodes involve urban legends usually told by Gerald, such as superheroes or headless horsemen.

text: Other characters include students and faculty at P.S. 118, Arnold's school, and citizens of Hillwood. Certain episodes focus on the lives of supporting characters, such as the tenants of the boarding house that Arnold's grandparents own.

text: Setting[edit]

text: Hey Arnold! takes place in the fictional American city of Hillwood. While its geographic location is never revealed outright, some episodes suggest that the city is located in Washington State. Bartlett described the city as "an amalgam of large northern cities I have loved, including Seattle (my hometown), Portland (where I went to art school) and Brooklyn (the bridge, the brownstones, the subway)".[6] Bartlett, having grown up in Seattle, based many of the show's events on his own experience growing up in the city. Evan Levine of the Houston Chronicle commented on the series' "backdrop of dark streets, nighttime adventures and rundown buildings, all seen from a child's point of view".[7]

text: Production[edit]

text: Animator Craig Bartlett graduated from Anacortes High School and obtained a degree in communications from The Evergreen State College in Olympia, Washington.[8] During high school and college, he studied painting and sculpture at the Museum Art School in Portland, and his first job after college was at Will Vinton Productions, a claymation house.[8] Originally, Bartlett intended to become a painter "in the 19th-century sense", but he became interested in animation during a trip to Italy.[5]

text: In 1987, while working on Pee-wee's Playhouse, he created claymation cutaways about a character named Penny and her friend Arnold, and made three "Arnold" shorts: Arnold Escapes from Church (1988), The Arnold Waltz (1990) and Arnold Rides His Chair (1991). Six years later, Bartlett was teamed up with five writers from Rugrats to develop animation projects for Nickelodeon.[8] These meetings were generally difficult and the writers became frustrated; Bartlett recalled: "Our ideas were OK, but such a large and motley group couldn't get far at pitch meetings. Network execs got migraines just counting us coming in the door."[8] As a last resort, Bartlett played the "Penny" tapes, intending to highlight the Penny character. However, the executives were more impressed by Arnold, despite him being a minor character.[8]

text: After the meeting, the group began developing Arnold, creating his personality and evolving him from claymation to cel animation. Bartlett stated: "We did a lot of talking about who Arnold is. We came up with a reluctant hero who keeps finding himself responsible for solving something, making the right choices, doing the right thing."[8] After creating ideas for Arnold, Bartlett began work on the supporting characters, drawing influence from his childhood: "A lot of the characters are an amalgam of people I knew when I was a kid. The girls in Hey Arnold! are girls that either liked or didn't like me when I was in school."[5]

text: In 1994, Bartlett created the pilot episode of Hey Arnold! in his living room, and showed it to producers at Nickelodeon. A year later, the network decided to begin work on the series.[5] The character was previously featured in a trilogy of clay animation shorts from 1988 to 1991: Arnold Escapes from Church (1988),[9] The Arnold Waltz (1990),[10][11] and Arnold Rides a Chair (1991), the latter having been aired as a filler short on Sesame Street in 1991. The 10-minute pilot episode, titled Arnold, was shown in theaters in 1996 before Nickelodeon's first feature-length film, Harriet the Spy.[8]

text: Apart from the animation style, Nick's Arnold wears a sweater, with his plaid shirt untucked (resembling a kilt). Only Arnold's cap remains unchanged from his original clay-animation wardrobe. Arnold comic strips also appeared in Simpsons Illustrated magazine, as Matt Groening, the creator of The Simpsons, is Craig Bartlett's brother-in-law.

text: Production of Hey Arnold! wrapped on December 7, 2001.[12] A dispute over a second planned Hey Arnold! movie, The Jungle Movie, then resulted in Bartlett leaving Nickelodeon. The last season's episodes were released over four years, beginning in 2000. The series aired its final episode, unannounced, on June 8, 2004.

text: The show aired in reruns on "Nick on CBS" for 2 years from September 14, 2002, to September 2004. In 2011, the Canadian Nickelodeon channel began airing episodes of Hey Arnold!. In September 2011, TeenNick brought Hey Arnold! reruns to "The '90s Are All That" programming block (which has been rebranded "The Splat").

text: Episodes[edit]

text:
Season
Episodes
Originally aired

First aired
Last aired

Pilot
July 10, 1996 (1996-07-10)

1
20
October 7, 1996 (1996-10-07)
February 14, 1997 (1997-02-14)

2
19
September 21, 1997 (1997-09-21)
January 18, 1998 (1998-01-18)

3
20
August 31, 1998 (1998-08-31)
March 8, 1999 (1999-03-08)

4
17
March 10, 1999 (1999-03-10)
December 11, 1999 (1999-12-11)

5
24
March 4, 2001 (2001-03-04)
June 8, 2004 (2004-06-08)

Theatrical film
June 28, 2002 (2002-06-28)

Television film
November 2017 (2017-11)

tag: table

text: Merchandise[edit]

text: VHS[edit]

text:
Urban Adventures
The Helga Stories
Arnold's Christmas
Love Stinks
Partners
Hey Arnold!: The Movie

text: Books[edit]

text:
Arnold for President
Return of the Sewer King
Arnold's Valentine
Parents Day
Summer Love
The Mystery of the Bermuda Triangle
Arnold's Christmas
Arnold's E-Files
Hey Arnold!: The Movie

text: Feature film[edit]

text: In this 2002 feature film, Arnold, Helga and Gerald set out on a quest to save their old neighborhood from a greedy developer who plans on converting it into a huge shopping mall. This film was directed by Tuck Tucker, and featured guest voice talents of Jennifer Jason Leigh, Paul Sorvino and Christopher Lloyd.

text: In 1998, Nickelodeon gave Craig Bartlett the chance to develop a feature adaptation of the series.[13] As work on the fifth season was completing, Bartlett and company engaged in the production of Arnold Saves the Neighborhood, which would eventually become Hey Arnold!: The Movie.[13] The Neighborhood project was originally made for television and home video,[13][14] but executives at Paramount Pictures decided to release it theatrically after successful test screenings.[14] According to animation historian Jerry Beck (in his Animated Movie Guide), the decision was buoyed by the financial success of the first two Rugrats movies, The Rugrats Movie and Rugrats in Paris: The Movie.[13]

text: Broadcast[edit]

text: Apart from Nickelodeon in the United States, Hey Arnold! premiered on October, 30 1996 in the United Kingdom, originally on CITV. In 2002, Nicktoons began broadcasting the show, and screened Hey Arnold! episodes until September 8, 2008 when the show was taken off its nightly schedule. The show was also formerly part of Jamaican commercial television network CVM Television's children's programming.

text: Home media releases[edit]

text: Nickelodeon released all five seasons on DVD in Region 1 via Amazon.com through its CreateSpace Manufacture-on-demand program in 2008/2009. Season 1 was released on August 21, 2008, Season 2 on August 29, 2008, Season 3 on December 8, 2009,[15] Season 4 on November 27, 2009, and Season 5 on December 4, 2009.[16] All of these releases are now discontinued.[17]

text: On May 9, 2011, it was announced that Shout! Factory had acquired the rights to the series.[18] They subsequently released Season 1 in a 4 disc set on August 9, 2011.[19] Season 2, Part 1 was released on March 20, 2012,[20] followed by Season 2, Part 2 on July 24, 2012.[21] Season 3 was released on January 29, 2013, as a Shout Select title.[22] On May 14, 2013, season 4 was released as a shout exclusive followed by season 5 released on October 15, 2013, also as a shout exclusive[23] making the entire series available on DVD. On August 19, 2014, the complete series was released through Shout! Factory as a Walmart exclusive.

text: In Australia, all five seasons have been released by Beyond Home Entertainment. A 16-disc collector's edition was released on September 1, 2016, containing all five seasons.

text:
DVD Name
Episodes
# of Discs
Release Date

Region 1

Region 4

Season 1
20
4
August 9, 2011 (2011-08-09)
April 3, 2013

Season 2, Part 1
Season 2, Part 2
20
4
March 20, 2012 (2012-03-20)
July 2, 2012 (2012-07-02)
April 3, 2013

Season 3♦
19
3
January 29, 2013 (2013-01-29)
June 3, 2015

Season 4♦
17
2
May 14, 2013 (2013-05-14)[24]
June 3, 2015

Season 5♦
24
3
October 15, 2013 (2013-10-15)[25]
September 1, 2015

The Complete Series
100
16
August 19, 2014 (2014-08-19)[26]
September 1, 2016

text: ♦ – Shout! Factory select title, sold exclusively through Shout's online store.

text: Television film[edit]

text: In an interview with Arun Mehta, Craig Bartlett announced that he was working with Nickelodeon on a Hey Arnold! reboot.[27] In September 2015, Nickelodeon president Russell Hicks announced that the company was considering reboots for a number of series, including Hey Arnold!.[28] According to an announcement by The Independent, a Hey Arnold! reboot is "very much on the cards".[29] On November 23, 2015, Nickelodeon announced that a TV movie is in the works and will pick up right where the series left off.[30] The film will also answer unanswered questions about the fate of Arnold's parents.[30] On March 1, 2016, it was announced that the TV film, The Jungle Movie, would be divided into two parts and would air in 2017.[4] On March 6, 2016, voice actress Nika Futterman confirmed on Twitter that she and her character Olga Pataki would appear in the two-hour film.[31] The movie is expected to premiere in November 2017.[32] In June 2016, it was confirmed that the TV film would be titled The Jungle Movie, and that 19 of the original voice actors from the series would lend their voices in the film.[33] New cast-members will include Mason Vale Cotton as Arnold; Benjamin "Lil' P-Nut" Flores as Gerald; Gavin Lewis as Eugene; Jet Jurgensmeyer as Stinky; Aiden Lewandowski as Sid; Laya Hayes as Nadine; Nicolas Cantu as Curly; Wally Wingert as Oskar; Stephen Stanton as Pigeon Man; and Alfred Molina as the villain La Sombra.[34] At the 2016 San Diego Comic-Con International, Craig Bartlett confirmed that the film would premiere November 2017.[35]


document_title: Supreme Allied Commander

question_text: full name of the allied commander of the pacific war

text: Supreme Allied Commander

text: World War I[edit]

text: On 26 March 1918, the French marshal Ferdinand Foch was appointed Supreme Allied Commander, gaining command of all Allied forces everywhere, and coordinated the French, British, American, and Italian forces to stop the Spring Offensive, the last massive offensive of the German Empire. [1] He was the one who accepted the German cessation of hostilities in his private train.

text: World War II[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (June 2016) (Learn how and when to remove this template message)

text: During World War II, the Allied leaders appointed Supreme Allied Commanders to manage the multi-nation, multi-discipline fighting forces for a particular theatre of war. These Supreme Allied Commanders were given operational control over all air, land, and sea units in that theatre. In other cases, senior commanders were given the title Commander-in-Chief.

text: These Supreme Allied Commanders – were drawn from the most senior leaders in the British Armed Forces and United States Armed Forces. These commanders reported to the British/American Combined Chiefs of Staff, although in the case of the Pacific and South East Asia, the relevant national command authorities of the American Joint Chiefs of Staff or the British Chiefs of Staff Committee had responsibility for the main conduct of the war in the theatre, depending on the Supreme Commander's nationality.

text: General of the Army Dwight D. Eisenhower served in successive Supreme Allied Commander roles. Eisenhower was the Commander-in-Chief, Allied Force for the Mediterranean theatre. Eisenhower then served as Supreme Commander Allied Expeditionary Force (SCAEF) in the European theatre, starting in December 1943 with the creation of the command to execute Operation Overlord and ending in July 1945 shortly after the End of World War II in Europe. In 1951, Eisenhower would again be a Supreme Allied Commander, the first to hold the post for NATO (see next section).

text: Field Marshal Henry Maitland Wilson succeeded Eisenhower in the Mediterranean theatre, given the title Supreme Allied Commander Mediterranean. Wilson was succeeded by Field Marshal Harold Alexander, who continued in charge of those Allied forces until the end of the war.

text: Admiral of the Fleet Lord Louis Mountbatten was Supreme Allied Commander South East Asia (SACSEA) throughout most of its existence. He replaced General Archibald Wavell.

text: General of the Army Douglas MacArthur was appointed Supreme Allied Commander, South West Pacific Area (SWPA) on 18 June 1942.[2] However, he preferred to use the title Commander-in-Chief. During the Allied occupation of Japan following the war, MacArthur held the title of Supreme Commander for the Allied Powers (SCAP).

text: NATO[edit]

text: The term came into use again with the formation of NATO in 1949. In 1952, Allied Command Europe was established, led by Eisenhower. He became the Supreme Allied Commander Europe (SACEUR). Soon afterwards, Allied Command Atlantic was established, at Norfolk, Virginia, under Lynde McCormick, a U.S. Navy admiral. His title was Supreme Allied Commander Atlantic (SACLANT), and the entire command was usually known as SACLANT. Both Supreme Commander have, until 2009, been American, with a deputy commander from another NATO member, though only British and Germans have held the post.

text: In June 2003, the commands were reshuffled. One command was given responsibility for operations, and one for transforming the military components of the alliance to meet new challenges. In Europe, Allied Command Operations was established from the former Allied Command Europe, and given responsibility for all NATO military operations worldwide. However, for legal reasons[further explanation needed], SACEUR retained the traditional title including Europe.[3] In the United States, SACLANT was decommissioned and Allied Command Transformation established. The headquarters of ACT is at the former SACLANT headquarters in Norfolk, Virginia, USA. Each has a Supreme Allied Commander as its commander.

text:
Allied Command Operations (ACO) has its headquarters at Supreme Headquarters Allied Powers Europe (SHAPE), at Mons, Belgium. It is headed by the Supreme Allied Commander Europe (SACEUR), a U.S. four-star general or admiral also heading U.S. European Command. The current[update] (since 2016) Commander is General Curtis Scaparrotti (Army), who succeeded General Philip M. Breedlove (Air Force).
Allied Command Transformation (ACT) is located in Norfolk, Virginia, USA. It is headed by the Supreme Allied Commander Transformation (SACT), a four-star general or admiral. General Stéphane Abrial, the commander from 2009 until 2012, was the first non-American to hold a supreme commander role within NATO. Since then this position has been held by a French Air Force officer. The commander of the organization is currently General Denis Mercier. [4]


document_title: Boxer (Animal Farm)

question_text: who does boxer in animal farm represent in the russian revolution

text: Boxer (Animal Farm)

text:
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text:
BoxerFirst appearance
Animal FarmLast appearance
Animal Farm (Only Appearance)Created by
George OrwellVoiced by
Maurice Denham (1954 film)  Paul Scofield (1999 film)InformationSpecies
HorseGender
MaleOccupation
Labourer at Animal Farm

text: Boxer is described as a hardworking, but naive and ignorant horse in George Orwell's Animal Farm. He is shown as the farm's most dedicated and loyal  labourer  as well. Boxer serves as an allegory for the Russian working-class who helped to oust Tsar Nicholas and establish the Soviet Union, but were eventually betrayed by the Stalinists.

text: Boxer cares and looks out for the other animals. One example of this is when all of the animals are hungry from the poor rations, and he gives away most of his food. He is mostly helpful in the places where the other animals are having difficulty. He does all his work loyally and faithfully. Boxer has two maxims that define his personality, "Napoleon is always right." and "I will work harder." He is described as "faithful and strong";[1] he believes any problem can be solved if he works harder.[2]

text: Boxer is slightly dim-witted and can only remember four letters of the alphabet at a time, but sees the importance of education and aspires to learn the rest of the alphabet during his retirement (which never happens). Boxer is a loyal supporter of Napoleon, and he listens to everything the self-appointed ruler of the farm says and assumes, sometimes with doubt, that everything Napoleon tells the farm animals is true, hence "Napoleon is always right."

text: Boxer's strength plays a huge part in keeping the Farm together prior to his death: the rest of the animals trusted in it to keep their spirits high during the long and hard laborious winters. Boxer was the only close friend of Benjamin, the cynical donkey.

text: Boxer fights in the Battle of the Cowshed and the Battle of the Windmill, but is upset when he thinks he has killed a stable boy when, in fact, he had only stunned him. When Boxer defends Snowball's reputation from Squealer's revisionism, the pigs designate him as a target for the Great Purge, but he easily out muscles the dog executioners, sparing them at Napoleon's request. When he collapses from overwork, the pigs say they have sent him to a veterinarian, when they actually have sent him to the knacker's yard to be slaughtered, in exchange for money to buy a case of whiskey for the pigs to drink. Benjamin, who is described as "devoted to Boxer," recognizes that the dogcart that Boxer is taken away in is the knacker's; however, Squealer deceives the other animals by saying that the dogcart was possessed by a veterinarian who failed to repaint the dogcart. Squealer concocts a sentimental tale of the death of Boxer, saying that he was given the best medical care possible, paid for by the "compassionate" Napoleon.

text: During Old Major's speech, which inspired the principles of Animalism, a specific reference is made to how Boxer would be turned into glue under Farmer Jones' rule, thus implying that it would not happen to him under Animalism. "You, Boxer, the very day that those great muscles of yours lose their power, Jones will send you to the knacker, he will cut your throat and boil you down for the fox-hounds." [3]

text: Real life model[edit]

text: Boxer is based on a coal miner named Alexey Stakhanov who was famous for working over his quota. The Joseph Stalin Regime built a cult of personality around him that rewarded workers who showed a similar heroic dedication to production and efficiency. He supported Joseph Stalin.

text: Films[edit]

text: In the 1954 film adaptation of Animal Farm, Boxer is voiced by Maurice Denham. In the 1999 film adaptation, he is voiced by Paul Scofield.


document_title: The Incredible Hulk (film)

question_text: who played the incredible hulk in the movies

text: The Incredible Hulk (film)

text: Plot

text: At Culver University in Virginia, General Thunderbolt Ross meets with Dr. Bruce Banner, the colleague and boyfriend of his daughter Betty, regarding an experiment that Ross claims is meant to make humans immune to gamma radiation. The experiment — part of a World War II era "super soldier" program that Ross hopes to recreate — fails, and the exposure to gamma radiation causes Banner to transform into the Hulk for brief periods of time, whenever his heart rate rises above 200 beats per minute. The Hulk destroys the lab and injures or kills the people inside. Banner becomes a fugitive from the U.S. military and Ross in particular, who wants to weaponize the Hulk in the process.

text: Five years later,[N 2] Banner works at a bottling factory in Rocinha, Rio de Janeiro in Brazil, while searching for a cure for his condition. On the Internet, he collaborates with a colleague he knows only as "Mr. Blue", and to whom he is "Mr. Green". He is also learning Yoga techniques to help keep control, and has not transformed in five months. After Banner cuts his finger, a drop of his blood falls into a bottle, and is eventually ingested by an elderly consumer in Milwaukee, Wisconsin, giving him gamma sickness. Using the bottle to track down Banner, Ross sends a special forces team, led by Russian-born British Royal Marine Emil Blonsky, to capture him. Banner transforms into the Hulk and defeats Blonsky's team. After Ross explains how Banner became the Hulk, Blonsky agrees to be injected with a small amount of a similar serum, which gives him enhanced speed, strength, agility, and healing, but also begins to deform his skeleton and impair his judgment.

text: Banner returns to Culver University and reunites with Betty, who is dating psychiatrist Leonard Samson. Banner is attacked a second time by Ross and Blonsky's forces, tipped off by the suspicious Samson, causing him to again transform into the Hulk. The ensuing battle outside the university proves to be futile for Ross' forces and they eventually retreat, though Blonsky, whose sanity is starting to falter, boldly attacks and mocks the Hulk. The Hulk seemingly kills Blonsky and flees with Betty. After the Hulk reverts to Banner, he and Betty go on the run, and Banner contacts Mr. Blue, who urges them to meet him in New York City. Mr. Blue is actually cellular biologist Dr. Samuel Sterns, who tells Banner he has developed a possible antidote to Banner's condition. After a successful test, he warns Banner that the antidote may only reverse each individual transformation. Sterns reveals he has synthesized Banner's blood samples, which Banner sent from Brazil, into a large supply, with the intention of applying its "limitless potential" to medicine. Fearful of the Hulk's power falling into the military's hands, Banner wishes to destroy the blood supply.

text: Meanwhile, Blonsky is revealed to have survived the earlier battle at Culver University and has completely healed. He joins Ross' forces for a third attempt to take Banner into custody. They succeed and Banner, along with Betty, are taken away in a helicopter. Blonsky stays behind and orders Sterns to inject him with Banner's blood, as he covets the Hulk's power. Sterns warns that the combination of the super-soldier formula and Banner's blood may cause him to become an "abomination", but Blonsky insists. The experiment mutates Blonsky into a creature with size and strength surpassing that of the Hulk, but drives him insane. He attacks Sterns, who gets some of Banner's blood in a cut on his forehead, causing him to begin mutating as well. Blonsky then rampages through Harlem. Realizing that the Hulk is the only one who can stop Blonsky, Banner convinces Ross to release him. He jumps from Ross' helicopter and transforms after hitting the ground. After a long and brutal battle through Harlem, the Hulk defeats Blonsky. After having a small, peaceful moment with Betty, the Hulk flees from New York.

text: A month later, Banner is in Bella Coola, British Columbia. Instead of trying to suppress his transformation, he successfully transforms in a controlled manner. In a final scene, Tony Stark approaches Ross at a local bar and informs him a team is being put together.

text: Cast

text:
Edward Norton as Bruce Banner / Hulk: A nuclear physicist and biochemist at Culver University who, because of exposure to gamma radiation, transforms into an enormous green humanoid monster when enraged or agitated. David Duchovny was a front-runner for the film before Norton's casting,[9] while Louis Leterrier's original choice for the role was Mark Ruffalo, who would later play Banner in the Marvel Cinematic Universe.[10] Gale Anne Hurd recalled Norton's portrayals of duality in Primal Fear and Fight Club,[11] while Norton reminded Kevin Feige of Bill Bixby, who played Banner in the TV series.[12] Lou Ferrigno, who played the Hulk with Bixby, remarked Norton "has a similar physique [and a] similar personality".[13] Norton was a Hulk fan, citing the first comic appearances, the Bixby TV show, and Bruce Jones' run on the comic, as his favorite depictions of the character.[14] He had expressed interest in the role for the first film.[15] He initially turned down the part, recalling "there [was] the wince factor or the defensive part of you that recoils at what the bad version of what that would be", as he felt the previous film "strayed far afield from a story that was familiar to people, [...] which is a fugitive story". When he met Leterrier and Marvel, he liked their vision, and believed they were looking to him to guide the project. Thus, Norton rewrote the script.[16] "Edward's script has given Bruce's story real gravitas," Leterrier said. "Admittedly I'm not the most adult director, but just because we're making a superhero movie it doesn't have to just appeal to 13-year-old boys. Ed and I both see superheroes as the new Greek gods."[17] Additionally, Lou Ferrigno provides vocal performance as the Hulk. During the 2008 New York Comic Con Leterrier publicly offered Ferrigno the chance to voice the Hulk for the film.[18] This marks the third time Ferrigno portrayed the Hulk, having also voiced the character in the 1996 animated series. Originally, the Hulk's only line was "Betty" at the film's ending, which would have been his first word. Leterrier was aware that fans wanted him to speak normally, and added "leave me alone" and "Hulk smash!" The latter line received cheers during a screening he attended.[19] Ferrigno also has a cameo in the film as a security guard who is bribed by Banner with a pizza.[20]
Liv Tyler as Betty Ross: A cellular biologist and Bruce's former girlfriend, from whom he is separated as a result of his condition. Tyler was attracted to the love story in the script, and was a fan of the TV show, because of the "humanity and what [Banner] is going through".[14] She was called about the role while driving to her home, and she accepted the part after a day without reading the script.[21] Tyler and Norton spent hours discussing Bruce and Betty's life before he became the Hulk.[22] She said filming the part "was very physical, which was fun",[23] and compared her performance to "a deer caught in the headlights", because of Betty's shock at Bruce's unexpected return into her life.[22]
Tim Roth as Emil Blonsky / Abomination: A Russian-born officer in the United Kingdom's Royal Marines Commandos loaned to Ross who, lusting for the Hulk's power, is injected with various serums that transforms him into a near-skeletal humanoid monster more powerful than the Hulk himself. Roth said he took the part to please his sons, who are comic-book superhero fans. As a teenager, Roth was a fan of the 1970s TV series, and he also found Leterrier's ideas "very dark and very interesting". Roth started watching the 2003 film to prepare for the part, but stopped as he did not want to be caught up in the controversy over its quality, and to compare himself to it.[24] It was Roth who suggested Blonsky be a soldier, whereas in the comics he was a KGB agent.[25] Leterrier was a fan of Roth's work, and felt "it's great watching a normal Cockney boy become a superhero!",[17] but Marvel and Norton were initially reluctant to cast him.[26] Before he was cast in Punisher: War Zone, Ray Stevenson was in discussions for the role.[27] Roth prepared for the part by learning to fire guns and break into rooms with two experts.[25] Roth found it tough shooting the chases, because to show Blonsky's aging he could not work out.[22] He especially found it difficult to run while pulled with a harness, which was used to show the injected Blonsky's 30–40 mile per hour running abilities.[28] Cyril Raffaelli performed some of Roth's stunts.[11] Roth enjoyed the motion capture, which reminded him of fringe theatre, and he hired his trainer from Planet of the Apes to aid him in portraying the monster's movement.[22]
Tim Blake Nelson as Samuel Sterns: The cellular biologist who develops a possible antidote to Banner's condition. Towards the end of the film, Sterns is exposed to some substance that begins his transformation into Leader.
Ty Burrell as Leonard Samson: A psychiatrist who is in a relationship with Betty during Bruce's absence. Burrell had performed with Norton in the off Broadway play Burn This in 2003, and when Leterrier met him, he recognized Burrell as the "jerk" from the 2004 Dawn of the Dead remake,[29] which was how Samson was characterized in the script before Norton's rewrote it.[30]
William Hurt as Thaddeus "Thunderbolt" Ross: Betty's arrogant father, who has dedicated himself to capturing the Hulk. Leterrier cast Hurt because "Ross is more physical, more explosive in this movie, and no actor goes from zero to 100 as well as William."[17] He compared Ross to Captain Ahab.[26] The Hulk is Hurt's favorite superhero, and his son is also a big fan of the character. Hurt found production very different from the typical "pure anxiety" of a studio film, finding it more akin to an independent film.[31] He described Ross as "humiliated by Hulk's conscience: he actually sees and recognizes that it's more developed than his own, even though he's a patriot and a warrior for his country. He's sacrificed [much] for that purpose, but at the expense at times of his humanity – which he occasionally recovers."[32] In June 2015, when reflecting on how his reprisal in Captain America: Civil War was different from this film, Hurt said, "What I created [for The Incredible Hulk] was a Ross who was right out of the graphic novel type of thing, where he was as much of a cartoon, in a way, as the monsters were. His ego was just as big and his problems were just as big. I really did do that consciously. I created a General Ross before which created a verisimilitude for the monsters, by making him a human monster. I worked really hard on the makeup and the exaggerated behavior and things like that and a controlled psychosis."[33] Sam Elliott had expressed interest in reprising the role from the first Hulk film.[34]

text: Robert Downey Jr. has an uncredited cameo as Tony Stark at the end of the film. Downey appeared as a favor to Marvel Studios, which he acknowledged as a smart move on Marvel's part, because when he was promoting his film he would also have to mention their other production.[35] Hulk co-creator Stan Lee cameos as a man who becomes ill when drinking the soda poisoned by Banner's blood. Michael K. Williams appears as a Harlem bystander, a role that was written for him by Norton, who is a fan of The Wire.[36] Paul Soles, who voiced Banner in the 1966 The Marvel Super Heroes cartoon, appears as Stanley, a kindly pizza restaurant owner who helps Banner. Additionally, the late Bill Bixby appears, in a scene on his TV comedy-drama The Courtship of Eddie's Father on a television Banner is watching at the beginning of the film. Rickson Gracie has a small role as Bruce Banner's martial arts instructor; despite Gracie's Brazilian Jiu-Jitsu background, he is credited as an Aikido instructor. Peter Mensah plays a small role as General Joe Gellar, one of General Ross' military friends/associates. Christina Cabot portrays Major Kathleen Sparr, General Ross' personal aid.[37] Martin Starr plays a college student, credited as "Computer Nerd" and identified as Amadeus Cho in the novelization for the film.[38] Hulk supporting characters, Jim Wilson and Jack McGee, make cameo appearances as Culver University students played by P.J. Kerr and Nicholas Rose, respectively.[39]

text: Production

text: Development

text: At the time of the release of Ang Lee's Hulk, screenwriter James Schamus was planning a sequel, featuring the Grey Hulk. He was also considering the Leader and the Abomination as villains.[40] Marvel wanted the Abomination because he would be an actual threat to the Hulk, unlike General Ross.[41] During the filming of Hulk, producer Avi Arad had a target May 2005 theatrical release date.[42] On January 18, 2006 Arad confirmed Marvel Studios would be providing the money for The Incredible Hulk's production budget, with Universal distributing,[43] because Universal did not meet the deadline for filming a sequel.[9] Marvel felt it would be better to deviate from Ang Lee's style to continue the franchise, arguing his film was like a parallel universe one-shot comic book, and their next film needed to be, in Kevin Feige's words, "really starting the Marvel Hulk franchise". Producer Gale Anne Hurd also felt the film had to meet what "everyone expects to see from having read the comics and seen the TV series".[22]

text: Pre-production

text: Louis Leterrier, who enjoyed the TV series as a child and liked the first film,[11][22] had expressed interest in directing the Iron Man film adaptation. Jon Favreau had taken that project, so Marvel offered him the Hulk. Leterrier was reluctant as he was unsure if he could replicate Lee's style, but Marvel explained that was not their intent.[44] Leterrier's primary inspiration was Jeph Loeb and Tim Sale's Hulk: Gray (a retelling of the character's first appearance). He replicated every comic book panel that he pinned-up during pre-production, from the many comics he browsed, in the final film.[11] Leterrier said that he planned to show Bruce Banner's struggle with the monster within him,[45] while Feige added the film would explore "that element of wish fulfillment, of overcoming an injustice or a bully and tapping into a strength that you didn't quite realize you had in yourself".[46] Arad also said the film would be "a lot more of a love story between Bruce Banner and Betty Ross".[47]

text: Zak Penn, who wrote a draft of the first film in 1996, said the film would follow up Hulk, but stressed it would be more tonally similar to the TV show and Bruce Jones' run on the comic. He compared his script to Aliens, which was a very different film from Alien, but still in the same continuity.[15] He included two scenes from his 1996 script: Banner jumping from a helicopter to trigger a transformation, and realizing he is unable to have sex with Betty.[2] After the studio rejected a treatment by another screenwriter in 2006, Penn wrote three drafts before departing in early 2007 to promote his film The Grand.[48] Norton, that April, began discussions to play Banner, and arranged a deal that included him as both an actor and a writer, with a screenplay draft he was contractually obligated to turn in within a month. He did so, and continued to polish his draft as late as halfway through principal photography.[48] In November 2006, a June 13, 2008 release date was set.[49] Leterrier acknowledged the only remaining similarity between the two films was Bruce hiding in South America,[11] and that the film was a unique reboot, as generally audiences would have expected another forty-minute origin story.[50] There were previous discussions to set the first act in Thailand.[51] Leterrier felt audiences were left restless waiting for the character to arrive in Ang Lee's film.[50] Feige commented, "we didn't want to tell the origin story again, because we thought people were so familiar with it, which is why we didn't tell that... One reason we made Incredible Hulk was to get Hulk into the [Marvel Cinematic Universe] canon."[52]

text: Shortly after the release of The Incredible Hulk, Gale Anne Hurd commented on the uncertainty of its relationship with Ang Lee's Hulk film. "We couldn't quite figure out how to term this ... It's kind of a reboot and it's kind of sequel." Hurd said that "requel", a portmanteau of "reboot" and "sequel", was a "perfect" description for the film.[53] Norton explained his decision to ignore Lee's origin story: "I don't even like the phrase 'origin story', and I don't think in great literature and great films that explaining the roots of the story doesn't mean it comes in the beginning."[14] "Audiences know this story," he added, "[so] deal with it artfully." He wanted to "have revelations even in the third act about what set this whole thing in motion".[16] The new origin story references Ultimate Marvel's take on the Hulk, which also had him created in an attempt to make super soldiers.[54] Norton removed Rick Jones and toned down S.H.I.E.L.D.'s presence.[22] He also added the scene where Banner attempts to extract a cure from a flower and his e-mailing with Samuel Sterns,[2] which references Bruce Jones' story.[55] Norton rewrote scenes every day.[24] Ultimately, the Writers Guild of America decided to credit the script solely to Penn,[1] who argued Norton had not dramatically changed his script. Journalist Anne Thompson explained "The Guild tends to favor plot, structure and pre-existing characters over dialogue."[2] Penn said in 2008, "I wasn't happy with [Norton] coming to Comic-Con saying that he wrote the script."[56] Before either Penn or Norton joined the project, an anonymous screenwriter wrote a draft and lobbied for credit.[2]

text: Filming

text: Leterrier had to direct four units with a broken foot.[17] Filming began on July 9, 2007. Shooting primarily took place in Toronto, because mayor David Miller is a Hulk fan and promised to be very helpful to the crew when closing Yonge Street for four nights in September to shoot Hulk and Blonsky's climactic fight. Despite messing up the street with explosives and overturned burning vehicles, the crew would clean it up within twenty minutes so business could continue as normal each day.[57] The first action sequence shot was the Culver University battle, which was filmed at the University of Toronto and Morningside Park. The filmmakers built a glass wall over a walkway at the University for when the soldiers trap Banner inside to smoke him out.[28] There was also shooting in the Financial District.[29] A factory in Hamilton, Ontario, which was due for demolition, was the interior of the Brazilian factory. The site's underground floors were used for Ross' military command center.[57] The crew also shot part of the Hulk and Blonsky's fight on a backlot in Hamilton.[58] Other Canadian locations included CFB Trenton and a glacier in Bella Coola, British Columbia.[29] Afterwards, there was a week-long shoot in New York City and two weeks in Rio de Janeiro.[59] While there, the crew shot at Rocinha, Lapa, Tijuca Forest and Santa Teresa. Filming concluded in November after eighty-eight days of filming.[29]

text: The Incredible Hulk joined Toronto's Green-Screen initiative, to help cut carbon emissions and waste created during filming.[60] Producer Gale Anne Hurd acknowledged the Hulk, being green, was a popular environmental analogy, and Norton himself was an environmentalist. Hybrid and fuel efficient vehicles were used, with low sulfur diesel as their energy source. The construction department used a sustainably harvested, locally sourced yellow pine instead of lauan for the sets, and also used zero-or low-VOC paint. The wood was generally recycled or given to environmental organizations, and paint cans were handed to waste management. In addition, they used cloth bags, biodegradable food containers, china and silverware food utensils, a stainless steel mug for each production crew member, a contractor who removed bins, recycled paper, biodegradable soap and cleaners in the trailers and production offices, and the sound department used rechargeable batteries.[29] The Incredible Hulk became the first blockbuster film to receive the Environmental Media Association's Green Seal, which is displayed during the end credits.[61]

text: Post-production

text: Leterrier cited Andy Serkis' motion capture portrayals of Gollum and King Kong in The Lord of the Rings and King Kong, respectively, as the standard he was aiming for.[44] Norton and Roth filmed 2500 takes of different movements the monsters would make (such as the Hulk's "thunder claps").[29] Phosphorescent face paint applied to the actors' faces and strobe lighting would help record the most subtle mannerisms into the computer.[62] Others including Cyril Raffaelli provided motion capture for stunts and fights,[25] after the main actors had done video referencing.[63] Leterrier hired Rhythm and Hues to provide the CGI, rather than Industrial Light & Magic who created the visual effects for Ang Lee's Hulk. Visual effect company, Image Engine, spent over a year working on a shot where Banner's gamma-irradiated blood falls through three factory floors into a bottle.[64] Overall 700 effects shots were created. Motion capture aided in placing and timing of movements, but overall key frame animation by Rhythm and Hues provided the necessary "finesse [and] superhero quality".[65] Many of the animators and Leterrier himself provided video reference for the climactic fight.[28]

text: Dale Keown's comic book artwork of the Hulk was an inspiration for his design.[44] Leterrier felt the first Hulk had "too much fat [and] the proportions were a little off". He explained, "The Hulk is beyond perfect so there is zero grams of fat, all chiseled, and his muscle and strength defines this creature so he's like a tank."[44] Visual effects supervisor Kurt Williams envisioned the Hulk's physique as a linebacker rather than a bodybuilder. A height of nine feet was chosen for the character as they did not want him to be too inhuman. To make him more expressive, computer programs controlling the inflation of his muscles and saturation of skin color were created. Williams cited flushing as an example of humans' skin color being influenced by their emotions.[29] The animators felt green blood would make his skin become darker rather than lighter, and his skin tones, depending on lighting, either resemble an olive or even gray slate.[62] His animation model was completed without the effects company's full knowledge of what he would be required to do: he was rigged to do whatever they imagined, in case the model was to be used for The Avengers film.[65] The Hulk's medium-length hair was modeled on Mike Deodato's art.[65] He originally had a crew cut, but Leterrier decided flopping hair imbued him with more character.[63] Leterrier cited An American Werewolf in London as the inspiration for Banner's transformation, wanting to show how painful it was for him to change.[66] As a nod to the live action TV series, Banner's eyes change color first when he transforms.[67] Leterrier changed the Abomination's design from the comics because he felt the audience would question why he resembled a fish or a reptile, instead of "an über-human" like the Hulk. Rather, his hideousness is derived from being injected multiple times into his skin, muscles and bones, creating a creature with a protruding spine and sharp bones that he can use to stab. His green skin is pale, and reflects light, so it appears orange because of surrounding fire during the climactic battle.[26] The motion capture performers, including Roth, tried to make the character behave less gracefully than the Hulk. They modeled his posture and the way he turns his head on a shark.[41] The character also shares Roth's tattoos.[68] A height of eleven feet was chosen for the character.[29] Leterrier tried to work in the character's pointed ears, but realized the Hulk would bite them off (using the example of Mike Tyson when he fought Evander Holyfield), and felt ignoring that would make the Hulk come across as stupid.[69]

text: Leterrier had planned to use prosthetic makeup and animatronics to complement the computer-generated imagery that was solely used in the previous film.[70] The make-up artists who worked on X-Men: The Last Stand were set to portray Blonsky's gradual transformation,[24] which Zak Penn said would portray Blonsky "not [being] used to having these properties. Like he's much heavier, and we talked about how when he walks down the sidewalk, his weight destroys the sidewalk and he's tripping. [It's all about] the humanization of these kinds of superhero characters, showing the effects physics may actually have on [them]."[71] Tom Woodruff, Jr. of Amalgamated Dynamics (who created all the costumes for the Alien films since Alien 3) was in negotiations, and created two busts of the Hulk and prosthetic hands to act as stand-ins for the character. A full animatronic was never created as it was decided it would complicate production to set up shots for a puppet and then a computer graphic.[72] An animatronic was used for Sterns' mutating head, however.[58] Destruction was mostly done practically. A model of a bottling machine was smashed through a wall for when the Hulk escapes the factory. The filmmakers used steam and dry ice for the gas used to smoke out the Hulk, and they destroyed a real Humvee by dropping a weight on it when shooting the Culver University battle. Pipes blew fire for when the Hulk strikes down the computer-generated helicopter. When Banner falls from the helicopter to trigger the Hulk into fighting the Abomination, Norton was attached to a surface held by a bar which turned 90 degrees while the camera was pulled to the ceiling to simulate falling. Leterrier jokingly remarked that making Norton fall that distance would obviously render him unable to act.[28]

text: Music

text: The score for the film was composed by Craig Armstrong, who was the arranger for Massive Attack, a band Leterrier was fond of and had collaborated with on the 2005 film Unleashed. Armstrong was his first choice, which surprised Marvel, not knowing if he had scored an action film (he did compose 2001's Kiss of the Dragon).[73] At Leterrier's suggestion, the soundtrack was released on a two-disc album, which Armstrong thought was a joke until he compiled the album and Marvel asked him why they were given only one disc.[74] The film’s score borrows Joe Harnell's theme "The Lonely Man" from the 1978 Incredible Hulk television series.[75]

text: Release

text: The Incredible Hulk premiered on June 8, 2008 at the Gibson Amphitheatre in Universal City, California[76] and was released in theaters on June 13 in the United States,[49] where it opened in 3,505 theaters.[77]

text: Editing

text: Seventy minutes of footage, mostly dealing with the origin, were not included in the final cut.[30] Much of this back-story was unscripted and the filmmakers were never sure of including it into the final cut, and had considered releasing some of these clips on the internet.[20] Editor Kyle Cooper, creator of the Marvel logo (with the flipping pages) and the montage detailing Iron Man's biography in that film, edited together much of this footage into the opening credits.[20] Leterrier explained a negative test screening, where flashbacks were placed across the film that the audience found too similar to Hulk, had resulted in compressing these to the film's start.[30] This replaced the original opening, where Banner comes to the Arctic to commit suicide. When the scene ends, in an instant the frozen body of Captain America is partially seen in the ice. Leterrier said he did not want this scene to be lost amid the opening montage.[30]

text: Norton and Leterrier disputed with the producers over the final running time: they wanted it to be near 135 minutes, while the producers wanted the film to be under two hours. This was made public, and rumors spread that Norton "made it clear he won't cooperate with publicity plans if he's not happy with the final product".[78] Norton dismissed this: "Our healthy process [of collaboration], which is and should be a private matter, was misrepresented publicly as a 'dispute', seized on by people looking for a good story, and has been distorted to such a degree that it risks distracting from the film itself, which Marvel, Universal and I refuse to let happen. It has always been my firm conviction that films should speak for themselves and that knowing too much about how they are made diminishes the magic of watching them."[79]

text: Marketing

text:
"We know the Hulk from 2003 didn't satisfy the fans, and we had to acknowledge that. We emphasized the passion that fans still have for this character and that this is the movie people have always wanted."

—Stephanie Sperber, executive vice-president of Universal Studios Partnerships[80]

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text: Effort was made to promote the story as having a romance and a physical antagonist, and the title was used for promotional puns (such as 7-Eleven's "Incredible Gulp" slurpees, and "Incredible Dad" themed Father's Day gifts at Kmart). Burger King also promoted the film, and General Nutrition Centers used the title character as a role model for strength training.[80] Hasbro created the toy line, which they released on May 3, 2008,[81] while Sega released a video game on June 5, 2008.[82] The film was promoted in an episode of American Gladiators on June 9, 2008, which was hosted by Hulk Hogan and featured Lou Ferrigno.[83]

text: Following the edit dispute, Universal's Adam Fogleson and Norton planned a promotional tour which would avoid constant media interviews and therefore uncomfortable questions. He attended the premiere, took part in a Jimmy Kimmel Live! sketch and would also promote the film in Japan.[2] However, during the film's release he chose to do charity work in Africa.[84]

text: Home media

text: The Incredible Hulk was released by Universal Pictures Home Entertainment on Blu-ray and DVD on October 21, 2008. It includes behind-the-scenes featurettes, audio commentary, deleted scenes, and an alternate opening.[85][86] The film was number one in sales when released on DVD and Blu-ray on October 21, 2008, in the United States (having been available in the United Kingdom since October 13). There are widescreen and fullscreen single-disc editions; a three-disc special edition; and a two-disc Blu-ray package. The first disc contains an audio commentary by Leterrier and Roth, while the second comes with special features and deleted scenes, and the third with a digital copy of the film. The Blu-ray edition compresses the content of the first two DVDs onto one, while the second disc contains the digital copy.

text: The film was also collected in a 10-disc box set titled "Marvel Cinematic Universe: Phase One – Avengers Assembled" which includes all of the Phase One films in the Marvel Cinematic Universe.[87] It was released by Walt Disney Studios Home Entertainment on April 2, 2013.[88] Universal released the film on Ultra HD Blu-ray on April 10, 2018.[89]

text: Reception

text: Box office

text: The Incredible Hulk earned $134.8 million in the United States and Canada, as well as $128.6 million from other territories, for a worldwide total of $263.4 million.[5] The film, even though it barely passed its predecessor, and only equalled it if the smaller budget of the first film is taken into account, was still considered successful. Entertainment analyst David Davis told The Hollywood Reporter, "The first Hulk had such high expectations after the NBC Universal merger and was supposed to be critical favorite Ang Lee's breakout commercial blockbuster. Then with the new Hulk film, Marvel was able to underplay the importance of the success after the great success of Iron Man this summer. So the new one overdelivered, relative to its underpromise."[90]

text: The Incredible Hulk earned $55.4 million in its opening weekend, becoming the top film at the box office.[77] Behind Fantastic Four: Rise of the Silver Surfer, it was the second-highest gross for a film released over the Father's Day weekend.[91] This surpassed industry expectations of a $45 million opening, following the disappointing response to the 2003 film. Universal believed word of mouth would contribute to the film breaking even eventually.[4]

text: The Incredible Hulk also opened in 38 other countries, adding $31 million to the total opening. The film outgrossed the 2003 film in South Korea, while its openings in Mexico and Russia created records for Universal.[92] The film grossed 24 million yuan (roughly $3.4 million) in its Chinese opening on August 26, outgrossing the previous film's overall gross of 10 million yuan.[93]

text: Critical response

text: The review aggregator website Rotten Tomatoes reported a 67% approval rating with an average rating of 6.2/10 based on 225 reviews. The website's consensus reads, "The Incredible Hulk may not be quite the smashing success that fans of Marvel's raging behemoth might hope for, but it offers more than enough big green action to make up for its occasionally puny narrative."[94] Metacritic gave the film an average score of 61 out of 100, based on 38 critics, indicating "generally favorable reviews".[95] A CinemaScore poll indicated the majority of viewers were male and graded the film an A-, and 82% of them had seen the 2003 film.[96]

text: Todd McCarthy of Variety said, "what seemed, in theory, the least-necessary revival of a big screen superhero emerges as perfectly solid summer action fare in The Incredible Hulk." He emphasized "it's all par-for-the-course cinematic demolition and destruction, staged efficiently and with a hint of enthusiasm," and "penned with sporadic wit [...] Visuals lean toward the dark and murky, but editing by three—actually six—hands is fleet, and Craig Armstrong's ever-present score is simultaneously bombastic and helpfully supportive of the action. Effects are in line with pic's generally pro but not inspired achievements."[97] Rene Rodriguez of The Miami Herald applauded that the film "does a lot of things [Ang] Lee's Hulk didn't: It's lighter and faster-paced, it's funnier and it embraces (instead of ignoring) the 1970s TV series that furthered the character's popularity".[98] Mark Rahner of The Seattle Times wrote that, "The relaunch of Marvel's green goliath is an improvement over director Ang Lee's ponderous 2003 Hulk in nearly every way – except that the actual Hulk still looks scarcely better than something from a video game, and he still barely talks".[99] Lou Lumenick of the New York Post said, "What lingers in my memory ... is the lengthy, essentially animated climactic battle between the Hulk and the Abomination on the streets and rooftops of Harlem, and an earlier showdown between the title creature and the U.S. Army, which is deploying high-tech weapons including sound-wave cannons. These are expertly staged by director Louis Leterrier, who disposes of the backstory under the opening credits and wraps up the whole thing in twenty-four minutes less than [Ang] Lee took".[100] Roger Ebert was not a fan of the film stating, "The Incredible Hulk is no doubt an ideal version of the Hulk saga for those who found Ang Lee's Hulk too talky, or dare I say, too thoughtful. But not for me. It sidesteps the intriguing aspects of Hulkdom and spends way too much time in, dare I say, noisy and mindless action sequences."[101]

text: Conversely, Christy Lemire of the Associated Press found that "the inevitable comparisons to Iron Man, Marvel Studios' first blockbuster this summer, serve as a glaring reminder of what this Hulk lacks: wit and heart. Despite the presence of Edward Norton, an actor capable of going just as deep as Robert Downey Jr., we don't feel a strong sense of Bruce Banner's inner conflict".[102] A.O. Scott of The New York Times opined, "'The Adequate Hulk' would have been a more suitable title. There are some big, thumping fights and a few bright shards of pop-cultural wit, but for the most part this movie seems content to aim for the generic mean".[103] David Ansen of Newsweek wrote, "Leterrier has style, he's good with action and he's eager to give the audience its money's worth of bone-crunching battles. Still, once the movie leaves the atmospheric Brazilian settings, nothing in this "Hulk" sinks in deeply: its familiar genre pleasures are all on the surface. ... The movie's scene stealer is Tim Blake Nelson, making a comically welcome third act appearance as the unethical but madly enthusiastic scientist Samuel Sterns".[104]

text: The film was nominated for best superhero film at the 2008 National Movie Awards and for Best Science Fiction Film at the Saturn Awards, but lost to The Dark Knight and Iron Man, respectively.[105][106]

text: Future

text: On a potential sequel, Norton said, "The whole thing was to envision it in multiple parts. We left a lot out on purpose. [The Incredible Hulk is] definitely intended as chapter one."[16] Leterrier made the film's final shot of Banner ambiguous; the thought being if there is a sequel, it would mean Banner finally masters control over his anger; if there is not a sequel, the shot indicates instead that he becomes a menace in The Avengers.[107] Leterrier had also intended for a scene in the credits showing Blonsky, human once more, imprisoned and chained in a box.[108] The character of Samuel Sterns, played by Tim Blake Nelson, was introduced to set him up as a villain in a possible future film, where he would become the Leader.[22][109] Aaron Sims, the lead designer on The Incredible Hulk, also took time to work on concepts for the Leader.[110] Nelson is "signed on" to reprise the role.[111] Ty Burrell wants to portray the superpowered Doc Samson faithfully to the comics.[111]

text: Leterrier and Roth were originally contracted to return. Leterrier also stated Norton was not signed on,[112] but in October 2008, Hurd stated that Norton was contracted to reprise the role.[113] The film had outgrossed its predecessor and Universal indicated interest in a sequel,[114] though Leterrier believed a sequel would not be made because of the film's box office return.[115] Feige said the film met Marvel's expectations and that Hulk would return, but after the crossover.[116] Hurd was not concerned that a sequel may not be produced until at least 2012, citing the positive reception to the film and having produced the Terminator series, the second and third film of which had a 12-year gap.[113] Tim Roth confirmed that Marvel had signed him for three more films.[117] Leterrier, after having previously said he did not want to direct a sequel,[118] said in late 2009 he had changed his mind and was now amenable.[119]

text: Mark Ruffalo began his role as Banner / Hulk in The Avengers, after Feige said he chose not to bring back Norton.[120][121] In October 2014, Norton claimed he chose never to play Hulk again because he "wanted more diversity" with his career, and did not want to be associated with only one character.[122] In April 2012, despite Ruffalo being on board to play the Hulk in the sequel, Feige confirmed to Collider that Marvel had no plans at that time to film another Hulk film.[123] In a Q&A session, Feige and Ruffalo confirmed that discussions were underway to produce another Hulk film due to the positive audience response to Ruffalo's performance in The Avengers.[124] In September 2012, Feige, while exploring all possible story options for a sequel film, including a film based on the "Planet Hulk" and "World War Hulk" storylines, stated, "everything [in terms of stories from the comics] is on the table. Do I think Hulk can carry a movie and be as entertaining as he was in Avengers? I do believe that. I do believe he absolutely could. We certainly are not even going to attempt that until Avengers 2. So there's a lot of time to think about it."[125]

text: In June 2014, Ruffalo said he believed the studio might be considering doing a new standalone Hulk film, saying, "I think they are, for the first time, entertaining the idea of it. When we did The Avengers it was basically 'No!', and now there is some consideration for it. But there's still nothing definitive, not even a skeletal version of what it would be."[126] In July, Feige stated that the studio was not considering a "Planet Hulk" film at that time, due to wanting to feature Ruffalo's Banner in the film. However, he did not rule out a story that saw the Hulk and Banner end up in space and explained why a solo Hulk film did not occur in Phase Two of the MCU by saying, "After the first Avengers, Iron Man had his own movie, Thor had his own movie, Captain America had his own movie, and Widow and Fury were in The Winter Soldier. So it was really about, frankly, saving somebody so that the only place you could get Hulk between Avengers movies is the next Avengers movie, so [director Joss Whedon] could continue to play with that in [Avengers: Age of Ultron]. Where we go after that, we'll see."[127] In October 2014, again on a solo film, Feige said, "We'll see. We'd love to do it, we'd love to find the place to put it, but right now, Hulk will be appearing, with his friends, in their [Phase Three] films."[128]

text: In April 2015, Ruffalo said Universal holding the distribution rights to Hulk films may be an obstacle to releasing a future Hulk standalone film[129] and reiterated this in October 2015,[130] and July 2017.[131] Marvel regained the film production rights for the character by February 2006,[132] but Universal retained the distribution rights for The Incredible Hulk as well as the right of first refusal to distribute future Hulk films.[133] According to The Hollywood Reporter, a potential reason why Marvel has not reacquired the film distribution rights to the Hulk as they did with Paramount Pictures for the Iron Man, Thor, and Captain America films is that Universal holds the theme park rights to several Marvel characters that Marvel's parent company, Disney, wants for its own theme parks.[134] In December 2015, Ruffalo stated that the strained relationship between Marvel and Universal may be another obstacle to releasing a future standalone Hulk film.[135] The following month, he indicated that the lack of a standalone Hulk film allowed the character to play a more prominent role in Thor: Ragnarok, Avengers: Infinity War, and the latter's untitled sequel, stating, "We’ve worked a really interesting arc into Thor[: Ragnarok], Avengers[: Infinity War], and [the latter's sequel] for Banner that I think will – when it’s all added up – will feel like a Hulk movie, a standalone movie."[136]

text: Notes

text:
Jump up ^ Despite reportedly working extensively on the script, the Writers Guild of America decided not to credit Edward Norton as a writer, only crediting Penn,[1] arguing Norton had not dramatically changed Penn's script.[2]

Jump up ^ According to Leterrier, the film takes place about five years since Banner first transformed.[6] The events of the film also take place simultaneously with the events of Iron Man 2 (2010) and Thor (2011),[7] the former of which is set six months after the events of Iron Man (2008).[8]

tag: ol